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lshtam as the leading representatives art deco edit chest of drawers a highly simplified reinterpretation of the louis xvi style by clément mère 1910 maple ebony leather and ivory 87 5 x 96 x 37 cm musée d orsay paris 111 dressing table and chair a reinterpretation of the louis xvi style by paul follot 1919 marble and encrusted lacquered and gilded wood unknown dimensions musée d art moderne de paris hommage à jean goujon by alfred janniot 1919 1924 limestone partially coloured 220 x 235 x 129 cm calouste gulbenkian museum lisbon portugal 112 plate with design for an interior from the collection of projects architectures by louis süe and andré mare 1921 boudoir from the hôtel du collectionneur a highly simplified reinterpretation of the louis xvi style at the 1925 paris exhibition by émile jacques ruhlmann little horses dress by madeleine vionnet 1925 rayon crepe black and gold seed beads museum at the fashion institute of technology new york palais de tokyo paris by andré aubert and marcel dastugue 1937 embassy of france belgrade serbia by roger henri expert with josif najman as assistant designed in 1926 built in 1939 113 114 château de sept saulx grand est a highly simplified reinterpretation of the louis xvi style france by louis süe 1928 1929 115 daily telegraph building london by charles ernest elcock after consulting with thomas s tait 1928 116 design for severance hall grand foyer of the severance hall cleveland us by walker and weeks c 1930 dumitru săvulescu house bulevardul dacia no 73 bucharest romania by gheorghe negoescu 1933 117 grave of the străjescu family bellu cemetery bucharest by george cristinel 1934 110 avenue foch no 53 paris by charles abella 1939 115 although it started to be seen as dated after ww1 principles proportions and other neoclassical elements were not abandoned yet art deco was the dominant style during the interwar period and it corresponds with the taste of a bourgeois elite for high class french styles of the past including the louis xvi directoire and empire the period styles of french neoclassicism at the same time the french elite was equally capable of appreciating modern art like the works of pablo picasso or amedeo modigliani the result of this situation is the early art deco style which uses both new and old elements the palais de tokyo from 1937 in paris by andré aubert and marcel dastugue is a good example of this although ornaments are not used here the facade being decorated only with reliefs the way columns are present here is a strong reminiscence of neoclassicism art deco design often drew on neoclassical motifs without expressing them overtly severe blocky commodes by émile jacques ruhlmann or louis süe andré mare crisp extremely low relief friezes of damsels and gazelles in every medium fashionable dresses that were draped or cut on the bias to recreate grecian lines the art dance of isadora duncan conservative modernist architects such as auguste perret in france kept the rhythms and spacing of columnar architecture even in factory buildings the oscillation of art deco between the use of historic elements shapes and proportions and the appetite for new for modernism is the result of multiple factors one of them is eclecticism the complexity and heterogeneity of art deco is largely due to the eclectic spirit stylized elements from repertoire of beaux arts neoclassicism or of cultures distant in time and space ancient egypt pre columbian americas or sub saharian african art are put together with references to modernist avant guard artists of the early 20th century henri matisse amedeo modigliani or constantin brâncuși the art deco phenomenon owes to academic eclecticism and neoclassicism mainly the existence of a specific architecture without the contribution of the beaux arts trained architects art deco architecture would have remained with the exception of residential buildings a collection of decorative objects magnified to an urban scale like the pavilions of the international exhibition of modern decorative and industrial arts from 1925 controversial at their time another reason for the swinging between historical elements and modernism was consumer culture objects and buildings in the puritan international style devoid of any ornamentation or citation of the past were too radical for the general public in interwar france and england the spirit of the public and much architectural criticism could not conceive a style totally deprived of ornament like the international style the use of historic styles as sources of inspiration for art deco starts as far back as the years before ww1 through the efforts of decorators like maurice dufrêne paul follot paul iribe andré groult léon jallot or émile jacques ruhlmann who relate to the prestigious french artistic and handicraft tradition of the late 18th and early 19th centuries the louis xvi directoire and louis philippe and who want to bring a new approach to these styles the neo louis xvi style was really popular in france and romania in the years before ww1 around 1910 and it heavily influenced multiple early art deco designs and buildings a good example of this is the château de sept saulx in grand est france by louis süe 1928 1929 118 neoclassicism and totalitarian regimes edit main articles socialist realism nazi architecture and rationalism architecture socialist realist lenin state library moscow russia by vladimir shchuko and vladimir helfreich 1928 1941 119 socialist realist assembly of the revolutionary military council of the ussr chaired by kliment voroshilov by isaak brodsky 1929 oil on canvas 95 5 x 129 5 cm private collection 120 fascist university rectorate and law faculty building in bucharest bulevardul mihail kogălniceanu no 36 46 bucharest romania by petre antonescu 1933 1935 121 nazi familie the family by josef thorak c 1937 probably bronze unknown dimensions exhibited at the 1937 paris world fair nazi new reich chancellery berlin by albert speer 1938 1939 122 fascist palazzo della civiltà italiana rome by giovanni guerrini ernesto lapadula and mario romano 1939 1942 123 socialist realist lomonosov university moscow by lev rudnev 1947 1952 123 socialist realist colonels quarter șoseaua panduri no 60 62 bucharest by i novițchi c ionescu c hacker and a șerbescu 1950 1960 124 socialist realist homage by constantin nitescu c 1980 unknown technique unknown dimensions romania in fascist italy nazi germany romania under the rule of carol ii and the soviet union during the 1920s and 1930s totalitarian regimes chose neoclassicism for state buildings and art architecture was central to totalitarian regimes expression of their permanence despite their obvious novelty the way totalitarian regimes drew from classicism took many forms when it comes to state buildings in italy and romania architects attempted to fuse a modern sensibility with abstract classical forms two good examples of this are the palazzo della civiltà italiana in rome and the university rectorate and law faculty building in bucharest bulevardul mihail kogălniceanu no 36 46 in contrast the classicism of the soviet union known as socialist realism was bombastic overloaded with ornaments and architectural sculptures as an attempt to be in contrast with the simplicity of capitalist or bourgeois styles like art deco or modernism the lomonosov university in moscow is a good example of this nikita khrushchev the soviet leader that succeeded stalin did not like this pompous socialist realist architecture from the reign of his predecessor because of the low speed and cost of these neoclassical buildings he stated that they spent people s money on beauty that no one needs instead of building simpler but more in the soviet union neoclassicism was embraced as a rejection of art deco and modernism which the communists saw as being too bourgeois and capitalist this communist neoclassical style is known as socialist realism and it was popular during the reign of joseph stalin 1924 1953 in fine art generally it manifested through deeply idealized representations of wiry workers shown as heroes in collective farms or industrialized cities political assemblies achievements of soviet technology and through depictions happy children staying around lenin or stalin both subject matter and representation were carefully monitored artistic merit was determined by the degree to which a work contributed to the building of socialism all artists had to join the state controlled union of soviet artists and produce work in the accepted style the three guiding principles of socialist realism were party loyalty presentation of correct ideology and accessibility realism more easily understood by the masses was the style of choice at the beginning in the soviet union multiple competing avant garde movements were present notably constructivism however as stalin consolidated his power towards the end of the 1920s avant garde art and architecture were suppressed and eventually outlawed and official state styles were established after boris iofan won the competition for the design of the palace of the soviets with a stepped classical tower surmounted by a giant statue of lenin architecture soon reverted to pre revolutionary styles of art and architecture untainted by constructivism s perceived western influence 125 although socialist realism in architecture ended more or less with the death of stalin and the rise of nikita khrushchev paintings in this style continued to be produced especially in countries where there was a strong personality cult of the leader in power like in the case of mao zedong s china kim il sung s north korea or nicolae ceaușescu s romania the nazis suppressed germany s vibrant avant garde culture once they gained control of the government in 1933 albert speer was set as adolf hitler s architectural advisor in 1934 and he tried to create an architecture that would both reflect the perceived unity of the german people and act as backdrop to the nazis expressions of power the nazis approach to architecture was riddled with contradictions while hitler and speer s plans for reordering berlin aspired to imitate imperial rome in rural contexts nazi buildings took inspiration from local vernaculars trying to channel an authentic german spirit when it come to fine art the nazis created the term degenerate art for modern art a kind of art which to them was un german jewish or communist the nazis hated modern art and linked it to cultural bolshevism the conspiracy theory that art or culture broadly was controlled by a leftist jewish cabal seeking to destroy the aryan race hitler s war on modern art mostly consisted of an exhibition that tried to discredit modern artists called the degenerate art exhibition german die ausstellung entartete kunst this exhibition was displayed next to the great exhibition of german art which consisted of artworks that the nazis approved of this way the visitors of both exhibitions could compare the art labeled by the regime as good and bad with a similar attitude the regime closed in 1931 the bauhaus an avant garde art school in dessau that was extremely influential post war it reopened in berlin in 1932 but was closed again in 1933 compared to germany and the soviet union in italy the avant garde contributed to state architecture classical architecture was also an influence echoing benito mussolini s far cruder attempts to create links between his fascist regime and ancient rome some italian architects tried to create fusions between modernism and classicism like marcello piacentini with the sapienza university of rome or giuseppe terragni with casa del fascio in como 126 in romania towards the late 1930s influenced by the autocratic tendency of king carol ii multiple state buildings were erected they were neoclassical many very similar to what was popular in the same years in fascist italy examples in bucharest include the university rectorate and law faculty building bulevardul mihail kogălniceanu no 36 46 the kretzulescu apartment building calea victoriei no 45 the cfr building bulevardul dinicu golescu no 38 or the victoria palace piața victoriei no 1 the royal palace whose interiors are mostly done in a neo adam style stands out by being more decorated a little closer to the architecture before world war i postmodernism edit j paul getty museum malibu california us by the partnership of langdon and wilson with edward genter as the project architect and archaeological advice from dr norman neuerberg 1970 1975 127 interior courtyard of les arcades du lac saint quentin en yvelines france by ricardo bofill 1975 1981 128 piazza d italia new orleans us by charles moore 1978 sheraton chair with applied decoration by robert venturi for knoll 1978 1984 bent laminated wood unknown dimensions milwaukee art museum milwaukee usa 129 apartment buildings on bulevardul unirii bucharest romania unknown architects 1980s louis xvi lowboy by robert venturi for arc international c 1985 laminated wood unknown dimensions indianapolis museum of art indianapolis usa 130 sainsbury wing national gallery london by robert venturi 1987 1991 131 isle of dogs pumping station london john outram 1988 130 77 west wacker drive chicago us by ricardo bofill 1990 1992 132 harold washington library chicago by hammond beeby babka 1991 133 winter garden of the harold washington library by hammond beeby babka 1991 133 m2 building tokyo japan by kengo kuma 1991 134 antigone montpellier france by ricardo bofill completed in 1992 children s museum of houston houston us by robert venturi 1992 135 forum shops in caesars palace las vegas us by marnell corrao associates 1992 136 exterior of the trafford centre manchester uk designed by chapman taylor and leach rhodes walker with sculptures by colin spofforth and guy portelli 1998 137 interior of the trafford centre by chapman taylor and leach rhodes walker 1998 137 louis ghost a simplified reinterpretation of armchairs in the louis xvi style by philippe starck 2009 polycarbonate height 94 cm various locations 138 postmodern table with different legs some of which are reminiscent of neoclassical furniture unknown designer c 2010 painted wood unknown dimensions cărturești verona strada arthur verona no 15 bucharest romania an early text questioning modernism was by architect robert venturi complexity and contradiction in architecture 1966 in which he recommended a revival of the presence of the past in architectural design he tried to include in his own buildings qualities that he described as inclusion inconsistency compromise accommodation adaptation superadjacency equivalence multiple focus juxtaposition or good and bad space 139 robert venturi s work reflected the broader counter cultural mood of the 1960s which saw younger generations begin to question and challenge the political social and racial realities with which they found themselves confronted this rejection of modernism is known as postmodernism robert venturi p...